Jakob Karr’s Journey: Pushing the Boundaries of Dance in Theater

At age 12, Jakob Karr stood mesmerized in his first jazz dance class as the teacher demonstrated the mechanics of a ball change and kick. He tentatively mimicked the footing before letting his long, gangly leg fly above his head. “Oh! I have to do that again,” he said, smiling, feeling a freedom that matched the height of his leg. 

Now, 22 years later, Karr is not only showcasing his flexibility and performance skills but also using his choreography to challenge the traditional role of dance in theater. He advocates for a new era of Broadway, where dancers are highlighted as artists capable of telling stories without words.

Originally from Orlando, Florida, Karr grew up as a competition dancer at Shooting Stars Dance School. In 2008, as a high school senior, he won the national title at New York City Dance Alliance, opening up a wide range of opportunities in the dance industry. After graduation, Karr moved to New York City to attend Fordham University. 

“I was so eager to be performing at a professional level,” he says. So, after his first year in college, Karr auditioned for Season 6 of “So You Think You Can Dance.” He came close to winning the entire competition but was awarded runner-up in the finale episode. “In many ways, I feel like I won because I won the beginning of a career.”

His “SYTYCD” connections catapulted him into the professional world. Karr spent three years dancing for Austin McCormick’s Company XIV, which takes fairy tales and classical ballets and turns them upside down in a Baroque style. He learned a lot from McCormick and credits him as one of his most influential mentors. In 2016, Karr began working with Andy Blankenbuehler in the pre-production process of the Broadway revival of Cats.

During the pandemic, Karr saw an opportunity to create something entirely his own. Gathering his closest friends—all exceptional dancers—he created and starred in his show Ain’t Done Bad. The production premiered at the Orlando International Fringe Theatre Festival in 2021 and just finished a successful off-Broadway run at the Pershing Square Signature Center. 

Dance Teacher caught up with Karr to discover how his professional experiences helped shape his artistic journey. 

On Ain’t Done Bad and its future: 

“The best dancers, in my opinion, are my closest friends…They’re phenomenal, and we exist in the same boat where we are often overlooked because we’re not musical theater grads. We don’t have incredible voices. I wanted to make a show where we could come together as powerhouses and do our best to show up and show out…With the momentum we’ve built, I aim to bring Ain’t Done Bad to Broadway.”

On his biggest influence: 

“[Austin McCormick] is a genius, and watching how he developed his scenes blew my mind. I always admired that, and as I’m becoming more of a creator, I channel him. I think about the way everyone respects him, and I ask myself, ‘How does that happen?’ Those experiences sit with me as a foundational part of my career.”

On the Cats journey: 

“I worked with Andy Blankenbuehler for a year to develop a movement language before they even held auditions. But once we got into auditions, it became clear that I wasn’t right for the part. 

“I was brought in six months into the run when someone got hurt. There was another whole round of auditioning that I went through and I was really exhausted. I remember feeling like I was at my wit’s end. Then, two days later, my agent called to tell me I booked the show. 

“Casting is a puzzle, and it’s more about the greater picture than an individual person. I learned that lesson the hard way before my dream came true. Everything about the Cats experience was good for me because it taught me that the best dancer is rarely what a show needs. That’s the reality of Broadway.

“I have watched too many multi-million-dollar musicals with incredible dancers who move props around in the background while the star singer stands center stage. It’s not that singers aren’t talented, but I believe there is room to broaden that spotlight and use dance to its fullest potential.” 

Advice for other creatives: 

“If you have an idea for a show, film, or anything creative, don’t wait to get started—write it down. Don’t be afraid to ask for feedback from mentors and friends. Developing your community around your work is so crucial for that purpose. If you came to me and said, ‘Jakob, I think I want to make this dance short film. Here’s my outline,’ I am going to read it. I want to read it. And I believe there are far more people willing to do the same than you might think.”